The Weeknd‘s “Die For You,” off of his 2016 album Starboy, has gotten some traction six years later thanks to TikTok.

The boost allowed the song to climb into the top half of Spotify’s Daily 200 chart — as “Die” grew from about 5 million weekly on-demand U.S. streams at the beginning of June to nearly 5.9 million in the tracking week ending July 21, according to Luminate.

If you need a guide to follow along with The Weeknd’s “Die For You,” find the lyrics below:

I’m findin’ ways to articulate the feelin’ I’m goin’ through
I just can’t say I don’t love you
‘Cause I love you, yeah
It’s hard for me to communicate the thoughts that I hold
But tonight, I’m gon’ let you know
Let me tell the truth
Baby, let me tell the truth, yeah

You know what I’m thinkin’, see it in your eyes
You hate that you want me, hate it when you cry
You’re scared to be lonely, ‘specially in the night
I’m scared that I’ll miss you, happens every time
I don’t want this feelin’, I can’t afford love
I try to find a reason to pull us apart
It ain’t workin’, ’cause you’re perfect, and I know that you’re worth it
I can’t walk away, oh

Even though we’re goin’ through it
And it makes you feel alone
Just know that I would die for you
Baby, I would die for you, yeah
The distance and the time between us
It’ll never change my mind
‘Cause baby, I would die for you
Baby, I would die for you, yeah

I’m findin’ ways to manipulate the feelin’ you’re goin’ through
But, baby girl, I’m not blamin’ you
Just don’t blame me, too, yeah
‘Cause I can’t take this pain forever
And you won’t find no one that’s better
‘Cause I’m right for you, babe
I think I’m right for you, babe

You know what I’m thinkin’, see it in your eyes
You hate that you want me, hate it when you cry
It ain’t workin’, ’cause you’re perfect, and I know that you’re worth it
I can’t walk away, oh

Even though we’re goin’ through it
And it makes you feel alone
Just know that I would die for you
Baby, I would die for you, yeah
The distance and the time between us
It’ll never change my mind
‘Cause baby, I would die for you, uh
Baby, I would die for you, yeah

I would die for you, I would lie for you
Keep it real with you, I would kill for you
My baby
I’m just sayin’, yeah
I would die for you, I would lie for you
Keep it real with you, I would kill for you
My baby
Na-na-na, na-na-na, na-na, ooh

Even though we’re goin’ through it
And it makes you feel alone
Just know that I would die for you
Baby, I would die for you, yeah
The distance and the time between us
It’ll never change my mind
‘Cause baby, I would die for you
Baby, I would die for you, yeah (oh, babe)

(Die for you)

Lyrics licensed & provided by LyricFind

Lyrics © Universal Music Publishing Group, ANTHEM ENTERTAINMENT LP, Sony/ATV Music Publishing LLC, Kobalt Music Publishing Ltd.

Written by: Abel Tesfaye, Dylan Wiggins, Henry Russell Walter, Magnus August Hoiberg, Martin Daniel Mckinney, Mejdi Rhars, William Thomas Walsh

Katelyn Brown scored her first entry on the Billboard Hot 100 chart (dated Sept. 24), when her duet with her husband Kane Brown, “Thank God,” debuted at No. 22.

“Thank God” is from Kane’s new LP Different Man, which debuted at No. 2 on Top Country Albums and No. 5 on the Billboard 200 with 46,000 equivalent album units.

If you need a guide to follow along with Kane and Katelyn Brown’s “Thank God,” find the lyrics below:

I was lost, you found a way to bring me back
Needed forgiveness
You always gave me that
Girl, I’m a witness of your love ’cause you don’t be giving up
And it’s crazy
How you saved me

Hand on the Bible
Don’t know how I got you
But I couldn’t ask for more
Girl, what we got’s worth thanking God for

So, thank God
I get to wake up by your side and thank God
Your hand fits perfectly in mine and thank God
You loved me when you didn’t have to
But you did and you do and He knew
Thank God for giving me you
Ooh, yeah, thank God
Thank God (oh) for giving me you

Never thought I’d find an angel undercover
Made a change to everything
From my heart to my last name
Hey, hard to tell when he fell
That boy was Heaven sent
And every night when I close my eyes
Before I say Amen

I thank God
I get to wake up by your side and thank God
Your hand fits perfectly in mine and thank God
You loved me when you didn’t have to
But you did and you do and He knew
Thank God for giving me you, thank God
Thank God, yeah, yeah
Thank God, ooh

Hand on the bible
Don’t know how I got you
I couldn’t ask for more
Girl, what we got’s worth thanking God for

So, thank God
I get to wake up by your side and thank God
Your hand fits perfectly in mine and thank God
You loved me when you didn’t have to
But you did and you do and He knew
Thank God for giving me you, thank God, thank God
Thank God, yeah, yeah
Thank God
Thank God for giving me you
Thank God (ooh)
Yeah, thank God (oh)
Thank God
Thank God for giving me you

Lyrics licensed & provided by LyricFind

Lyrics © Sony/ATV Music Publishing LLC, Kobalt Music Publishing Ltd., Warner Chappell Music, Inc.

Written by: Christian Davis, Jared Mullins, Jaxson Free, Josh Hoge, Kyle Fishman

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“I went completely rogue,” Charlie Puth says of how he made his new 12-song album Charlie. “I was by myself when I made the album, but I involved the Internet into the creation of it, so it felt like I was in the room with millions of people.”

Puth is speaking about his flourishing social media presence, where millions of followers (including nearly 20 million on TikTok and 17 million on Instagram) have delighted in short videos of the self-confessed “audio dork” joyfully sharing how he makes music at home on his computer. There a clip of him recording a literal light-switch sound and placing it into Charlie’s lead single “Light Switch.” And there’s the snippet of him chatting with an unseen executive who, apparently exasperated at Puth missing a deadline, sighs “oh no,” which then inspires Puth to record the same lyric in the album’s second single “Left and Right,” featuring Jung Kook of BTS. (Both “Light Switch” and “Left and Right” reached the top 40 on the Billboard Hot 100.)

“It’s basically how this whole album came together,” Puth tells the Billboard Pop Shop Podcast (listen to his interview below). It was about “involving the energetic feelings of people that weren’t in the room with me but were online, and it felt like they were in the room with me.”

But who actually is behind those clips of Puth geeking out in his home studio? An army of social media experts and editors lurking behind the camera? Well, actually… “It’s me and maybe a ring light, or some natural light,” he says. “It’s important for it to come from me, just like it’s important for the music to be produced by me, for my own project.” Though he’s not against working with others, it’s just “right now, I might as well really show people who I am.”

That vibe carries over to how he wanted the album’s sound to be truthful to his experiences over the past few years.

“On a personal level, I went through a lot of good and bad feelings, and happy and sad feelings, during the years of 2020 to 2022. And it seemed like it was all happening at the same time.

“I took note of what I was going through and it was a bunch of happy and sad feelings happening at the same time. And I thought to myself, what does happy and sad sound like? I know what it feels like, I know what it looks like. But what does a happy and sad song sound like? … And I did that 12 times on this album. So that’s the approach that I took sonically.”

One of those songs is the set’s “Left and Right,” which boasts the album’s lone guest artist, Jung Kook of BTS. While the song was originally just a solo track by Puth, he says “I was listening to it and I just felt like it called for having another person’s perspective … What if I featured an artist that maybe doesn’t even speak English? And can pull it off in a way and emote the same thing we all feel?” And voila, Jung Kook hopped on the song and sang in English alongside Puth.

On the day the Charlie album bowed, Puth also released the set’s latest music video, for “Loser.” Puth plays dueling characters in the goofy Wild West-themed clip, which doesn’t have an altogether clear storyline. But that’s the point.

“Truly, the video makes no sense at all,” he says. “I just wanted to make it. [Laughs] There is no story. I don’t preface anything as to why the two are dueling or battling. The song, it makes zero sense [in the context of the video]. But you know what? Several famous directors have reached out to my creative director and said ‘I didn’t know Charlie acted!’ So maybe I did a good job.

“I was told that I should never make a video like that,” he added. “Because I have to be the cool artist. I gotta make a video where I’m singing to a girl. That video is inspired by movies like Airplane! and [its star] Leslie Nielsen. He was one of my favorite actors.”

Later this month, Puth will embark on a short tour, which kicks off Oct. 23 with a homecoming show in Red Bank, N.J., at the Count Basie Center for the Arts. Puth will play theaters and other similarly intimate venues in eight U.S. cities before heading to Europe for four dates in London, Paris, Amsterdam and Berlin in late November and early December. A larger tour has been teased for 2023.

As for the theater run this year, Puth says, “I put this tour together with my team kind of not knowing where I stood as — I’ll say what no artist will ever say — I did not know where I stood as a touring artist.

“I thought at one point my career as a touring artist was over. I had no idea. It had been like a couple years since I had something on [the] Billboard [charts]. Like, where did I stand as a touring artist?”

He says he and his team got together and plotted a small tour to test the waters. “Sold out immediately,” Puth says. So it’s unlikely he’ll be playing such small venues for the upcoming larger tour in 2023, but in the meantime, he’s “taking it as an opportunity to realize I’m not really going to be able to play these small rooms anymore – and I’m fortunate enough to say that. But one of the best things about playing these small rooms is that you can connect to your fans, like I connect to my fans on TikTok.”

Also on the show, we’ve got chart news on how Steve Lacy’s “Bad Habit” holds firm at No. 1 on the Hot 100, Zach Bryan’s “Something in the Orange” and Beyoncé’s “Cuff It” both post big gains, and how Bad Bunny’s Un Verano Sin Ti ties for the most weeks at No. 1 atop the Billboard 200 albums chart. Plus, Katie shares her experience of getting to see Justin Timberlake perform a packed set of throwbacks at the Children’s Hospital Los Angeles 2022 Gala.

The Billboard Pop Shop Podcast is your one-stop shop for all things pop on Billboard‘s weekly charts. You can always count on a lively discussion about the latest pop news, fun chart stats and stories, new music, and guest interviews with music stars and folks from the world of pop. Casual pop fans and chart junkies can hear Billboard‘s executive digital director, West Coast, Katie Atkinson and Billboard’s senior director of charts Keith Caulfield every week on the podcast, which can be streamed on Billboard.com or downloaded in Apple Podcasts or your favorite podcast provider. (Click here to listen to the previous edition of the show on Billboard.com.)  

Cyndi Lauper launches the Girls Just Want To Have Fundamental Rights Fund, with a mission to support organizations “fighting for the right to abortion and reproductive healthcare.”

The veteran singer, songwriter and activist announced the initiative on Oct. 11, the International Day of the Girl and in response to the Supreme Court’s controversial overturning of Roe v. Wade.

In addition, Lauper will release limited-edition “Girls Just Want To Have Fundamental Rights” t-shirts, with net proceeds generated from each sale also going toward the fund.

Its ambition, reads a statement on Lauper’s official website, is to “support efforts that advance the fundamental rights and health of all women and girls.”

The program is a long-time brewing for Lauper, who’s been vocal about her identity as a feminist.

“When most women would say, ‘What are you, a feminist?’ And people would go, ‘Well, I’m really a humanist.’ I would say, ‘Yeah, I’m a feminist. I burned my training bra,’” said Lauper in a recent interview published by People. “Then in 2017, I saw these young girls with these ‘Girls Just Want to Have Fundamental Rights’ signs, and I felt like, ‘You know what? It was all worth it.’ The little ones, they heard me.”

Although the fund borrows its name from Lauper’s breakthrough 1983 single “Girls Just Want To Have Fun,” she admits she did not have any political intentions when she originally wrote the song.

“It wasn’t political, but in a lot of ways it was, because how dare I say that women should come together and be joyful?” Lauper told People. “When I used to go on tour, I actually saw grandmothers, mothers and daughters — three generations. It just made it worthwhile to me.”

The ’80s hitmaker has landed 14 titles on the Billboard Hot 100 chart, including eight top 10s and two leaders, “Time After Time” and “True Colors” (“Girls Just Want To Have Fun” peaked at No. 2).

Across her career, Lauper has won two Grammys (1985, 2014) an Emmy (1995), a Tony (2013) and in 2018, she accepted the Icon Award at the 2018 Billboard Women in Music Awards.

Angela Lansbury, who died Tuesday (Oct. 11) at the age of 96, never had a Billboard Hot 100 hit and never personally received a Grammy nomination. But, in a long string of Broadway and movie hits, she introduced many songs that are widely known and loved. Among them: “Beauty and the Beast,” the title song from the 1991 Disney film of the same name, which won an Oscar for best original song and a Grammy for song of the year.

Impressively, Lansbury received career-capping honorary awards from three of the four EGOT awards shows. She was inducted into the TV Academy Hall of Fame in 1996, received an honorary award from the Motion Picture Academy in 2013 and received a special Tony Award for lifetime achievement just this year. (Nothing like cutting it close, Tonys!)

Lansbury won four Tony Awards for best actress in a musical – which is still the record in that category – putting her ahead of fellow Broadway legends Mary Martin and Gwen Verdon, with three wins each. Lansbury won for Mame, Dear World, a revival of Gypsy and Sweeney Todd: The Demon Barber of Fleet Street. What’s more, Lansbury received a 1985 Emmy nomination (outstanding individual performance in a variety or music program) for a performance of Sweeney Todd on PBS’ Great Performances.

The original cast albums from Mame and Sweeney Todd won Grammys for what is now called best musical theater album. The award for Mame went to its composer/lyricist, Jerry Herman. The award for Sweeney Todd went to its composer/lyricist, Stephen Sondheim, as well as album producer Thomas Z. Shepard. Two of Lansbury’s other cast albums – for revivals of The King and I (1978) and A Little Night Music (2010) – were also nominated in that Grammy category.

Several of Lansbury’s cast albums and soundtracks registered on the Billboard 200. Among them: Beauty and the Beast, which reached No. 19 in 1992; Mame, which hit No. 23 in 1966; Sweeney Todd, which reached No. 78 in 1979; and Dear World, which reached No. 128 in 1969.

Lansbury was also an always-welcome host of awards shows. She hosted or co-hosted the Tony Awards five times, more often than anyone else, and hosted the Emmy Awards once (in 1993). Lansbury received an Emmy nomination for the first time she solo-hosted the Tonys (in 1987). The nod was for outstanding individual performance in a variety or music program.

In Lansbury’s memory, here are just a few of her greatest music moments.

Ever since Michael Jackson ushered in the blockbuster era of the Super Bowl halftime show when he headlined in 1993, nearly every performer who has graced the stage on sports’ (and TV’s) biggest night has enjoyed sizable boosts in sales and streams. Looking to continue this tradition is Rihanna, who is set to hit the midfield stage early next year when she headlines Super Bowl LVII. 

With few exceptions, Super Bowl halftime headliners have seen a sizable commercial uptick over the last 30 years. In 2002,  U2 saw sales for three of the band’s key albums (All That You Can’t Leave Behind, The Joshua Tree and Best of 1980-1990) more than double in the week following the performance. In 2004, Janet Jackson — in spite of, or perhaps because of, the singer’s infamous “Nipplegate” controversy — saw a similar jump. Particularly large sales gains were also seen for Paul McCartney in 2005, Prince in 2007, Tom Petty & The Heartbreakers in 2008, Madonna in 2012, Katy Perry and Missy Elliott in 2015, Coldplay and Bruno Mars in 2016 and, in 2017, Lady Gaga, who saw a whopping 1,000%  gain in digital album and song sales on Super Bowl Sunday alone.

In 2022, the halftime show — headlined by Dr. Dre, Snoop Dogg, Eminem, Kendrick Lamar and Mary J. Blige — averaged 103.4 million viewers across television and streaming in the U.S., according to NBCUniversal, which aired the event. The game itself garnered 112.3 million viewers – its best showing in five years.

Super Bowl halftime performances in the last 30-plus years have spurred some impressive boosts in sales and streams – and on Billboard’s charts. Ahead of Rihanna’s 2023 Super Bowl halftime show on Sunday, Feb. 12, here’s a look back at some of the biggest halftime show winners since 1993. (Sales and streaming data for the U.S. only, according to Luminate.)